Skip to main content

tv   An Irish Soldier in Revolutionary America  CSPAN  November 8, 2019 10:53pm-11:55pm EST

10:53 pm
10:54 pm
i can hear you all buzzing about the exhibition that you have an opportunity to see this morning so before i introduce our next speaker i would like to introduce myself i am doctor. elizabeth grant, director of education at the museum of the american revolution. it is my pleasure to introduce our next speaker, matthew skic, curator of our newest exhibition. the philadelphia inquiry boldly proclaims this has it all, love, death, and psychodrama. it describes the life story of
10:55 pm
richard st. george, the exhibitions starring figure, a wealthy irishman who finds himself on the wrong side of two revolutions in america and ireland, as part dickens with a spritz of yankee doodl. doodle. it is a cracking good tale, but the story reveals so much more than love my death, and psychodrama. in st. george, we see the complex entanglements of social, political and cultural identities of the time and the connectedness of the american revolution. we find a story of the age of revolution and a story of today, of who we are and how we got here, and what the past means to us as a
10:56 pm
people or as nations. in st. george, we also find a detective story. a decades long mystery that started with two relatively obscure paintings, and a mystery that ended with this deal for and moving exhibition featuring 22 works of art depicting or commissioned by richard st. george. or perhaps the mystery ended, we will find out. one of the joys of the past year, and my job brings me many joys, has been watching this exhibition of all and witnessing matt's unbridled excitement at every new discovery. at every new twist or revelation it revealed, we are reminded that history is a practice and there is always
10:57 pm
more to know and learn. matthew is a graduate of the university of delaware. he joined the museum staff and 2016 and helped complete the core exhibition prior to the museum opening in 2017. he has since helped to curate two special exhibitions. matthew is the lead curator of "the cost of revolution, " and he is here to tell you the story. (applause) >> good morning, everybody. thank you for that kind introduction. it is a pleasure to stand here today to talk about a project that has
10:58 pm
consumed my life for the last two years. a project that has long roots back to my childhood and i will talk about that a little bit. my presentation today is about curating "the cost of revolution, " broken into two parts, the detective part and the story of richard st. george. i would like to again thank the military museum and library for sponsoring this conference along with the richard c. von hess foundation. i want to make one shout out to the curatorial team here at the museum, of which i am a part of, led by dr. philip mead. my colleagues have pushed me and
10:59 pm
asked me great questions and what has resulted from those questions, and also leadership by scott stevenson, has produced a wonderful exhibition that i am excited that tens of thousands of people will get to see over the next couple of months. and so, let's start with a quote from richard st. george. this quote is an interesting one to start with. it said, if i were a prince, my history would interest nations and ages. richard st. george was no prince. he was not a nobleman, he was protestant landed entry in ireland. landed gentry in ireland. but his life is of interest to nations and also to a new age, the current age, in which tens of thousands of people will learn about
11:00 pm
richard st. george. back in 1792 when he wrote this to a fellow artist and friend, i think he was trying to be a little modest, but trying to show he was a modest man even though sometimes he wasn't very modest at all. his life is going to be on the forefront of people's minds who come to this museum and learn more about the international impact of the american revolution. and so "cost of revolution" is all about that. it is about the museum's mission to present the dynamic and unexpected stories of the people and events of the american revolution. that is quite a diverse cast of people. one of the questions we pose to our visitors as they enter this exhibition is, what can a life
11:01 pm
tell us about an era, and how can one life be a window into the past? some of the great events of the past, specifically american revolution. richard st. george, his life is a window into the entangled history of the american revolution, the events that took place in this very neighborhood, and connecting it to the irish revolution of 1798. we are using this window into this moment not from a person who supported both of those revolutions or fought and died in favor of those revolutions, but someone who opposed them, it is a different angle in thinking about this. what we have been able to bring together is the 22 known, surviving works of art that richard st. george created, that he posed for, or helped to
11:02 pm
create. for the very first time, all 22 of those works are brought together in the same room, and that is here at the museum. they've never before been together. we get to look at and examine a life through artwork from the period. what we are left with is a story of one of the most well documented, from a visual point of view, people of the revolutionary era that was not a statesman, not a nobleman, and not a high-ranking military officer. he never rose above the rank of captain. this is an unusual case. this is not washington, this is not the king, this is not a nobleman in england. he is a wealthy guy and that helps, but this is somebody who is fighting in america and profoundly affected by what
11:03 pm
happens here. let's begin with the detective story, one of my favorite stories to tell about this exhibition. the detective story connects the world. it involves wisconsin, it involves melbourne, australia. it involves ireland. it involves england. it involves people here in philadelphia. this is a global detective story that has produced our first international loan exhibition. that detective story in my opinion begins in 1957. in 1957, the valley forge historical society, the museum of the american revolution's predecessor organization, acquired these two paintings
11:04 pm
for its collection. they depict on the left, the battle of paley, and the battle of germantown. these were painted in 1782 by an italian artist working in naples at the time. these came into the collection of the valley forge historical sigh of the historical society from a gift, but we've easily they had been put up for sale in london and came out of a private english collection. that's all they knew about where they came from. in 1957, little else was known about them except that the artists except the artist and what they depicted. you see a rare depiction of the battle from the revolutionary war with intense emotion, the campfires, the soldiers being bayoneted. this took place on the night of september 21st during the british campaign to capture
11:05 pm
philadelphia. the other painting is october 4, 1777. today it is october 4. 242 years ago today, it is amazing we get to talk about this, the battle of germantown. george washington went on the offensive against general william howe's army, part of which was camped at germantown. we see german tine germantown avenue, which you can still ride and walk on today. a depiction of a big, stone house, it is a stand-in. the town of bakersfield, now known as mount area. how would an italian artist know about all of these
11:06 pm
details? these are inspiring interest in these events in the american revolution but also inspiring a lot of questions about how an italian artist in naples and had never set foot in america was able to paint these battles with such detail and accuracy. also, why did he care? why did he care to paint two battles that from european perspective were relatively obscure and small battles. one of the ways i first encountered these works, i wasn't alive in 1958, but i wrote i read a book that came out in 1958 called the american heritage book of the american revolution. i got it for christmas from my dad, who was a big used bookstore fan, as i'm sure many of you are. i got it with the
11:07 pm
cardboard book sleeve. it's an amazing book. some of the artifacts in this book are in this building, that is amazing. as a 10-year-old, i was looking through the book and i saw the paintings depicted. that's the first time they are ever published, in that book. meanwhile, across the atlantic, there is another book that comes out a decade later. that is the year of liberty by a great historian, one of the great histories of the 1798 revolution in ireland. in that book, the author devotes about a paragraph to a man called richard st. george, saying he was one of the first people killed during the irish revolution in 1798. fast-forward to the 1980's viewed this is the 1980's. this
11:08 pm
is where my friend stephen gilbert comes in. he joins us today, he was a graduate student and living historian who participated in revolution a revolutionary war interaction reaction. he wanted to understand these a bit more. he did a very detailed study trying to pick out who some of these individuals might be. he was able to do that pretty successfully. two of the key people in the foreground of these paintings are shown here, one on the left, martin hunter, a lieutenant in the british 57th light infantry. he is depicted in the painting. he was wounded in the right hand at that battle, one of the reasons stephen could pick out who he was. you can see him
11:09 pm
bandaging his right hand in the foreground. on the right is richard st. george being carried off the battlefield by a corporal named peacock. st. george was also in the infantry company, a comrade of hunter. stephen gilbert published his findings in the company of military historians journal in 1994, 1995. more people got to learn about them. one of the reasons that steeple that stephen was able to learn so much about these little details in the paintings was because of a journal that survived, written by martin hunter. the journal was published in 1894 and it covers his time serving in america and participating in and around philadelphia. he went on to serve in canada and i believe he also served in india as well. he had a long life. he wrote about it. he
11:10 pm
devoted quite a bit of ink for descriptions of the battles that took place here in and around philadelphia but also quite a bit of ink spilled on his buddy, richard st. george. this is one of the ways he described him. "he was a fine, high-spirited gentlemen like young man but uncommonly passionate." he also noted that st. george drew caricatures uncommonly well. hunter described how richard st. george also was a pretty aggressive soldier and officer on the battlefield, that he liked to lead attacks from the front. he also had an armed entourage that followed him as
11:11 pm
well. martin hunter made sure he took note of that and recorded it. he said that richard st. george brought with him from ireland a man named bernard was a family servant. he brought bernard to america during his service and armed and uniformed bernard and some of the cast off clothing st. george had. he armed him with captured american accoutrements, a long rifle, a sword, a brace of pistols, and a nice long sword. martin hunter also noted how richard st. george also had two runaway, formally enslaved african-american men following him has well. as well. st. george decided to arm and equipped and uniform those two african-american men, seeking their freedom with the british army. we don't know exactly when and where they joined richard st. george, maybe during the philadelphia campaign. it is possible. he has these men with him in battle, fighting alongside him in battle in and around
11:12 pm
philadelphia. another cartoon was also known to exist that stephen gilbert did some study of, a view of america in 1778, published on august 1, 1778 in london by matthew and mary darwin, accomplished print sellers. this print was examined alongside the paintings and there were some interesting similarities, such as the british light infantry men in the center pointing with his hand up. there are also some hunting shirts depicted, the linen fringed garment. you see it in the paintings and here. it was a little enigmatic
11:13 pm
at the time. in the 1980's and 1990's, and irish art historian was undertaking a study of this, painting of richard st. george painted about 1796. in 1992, this painting was sold to the national gallery of ireland from the third great-grandson of richard st. george. it was sold in 1992 and now graces the exhibit downstairs. before it arrived to us, it was on display in the hall of the largest portraits of the national gallery of ireland collection. stephen undertook a study of what the message was.
11:14 pm
what the painting is about is in 1792, richard st. george's wife passed away in this painting was commissioned by him of him a at his wife's tomb with the latin phrase, "not forgotten, " at the top. he was trying to decide what the painting could mean. it is interesting there is parallel interest in richard st. george unknowingly going on on other sides of the atlantic at the same time. fast-forward a little more, two thousand five, in melbourne, there is a painting on the wall that you can see downstairs. prior to 2005, it was known as officer of the fourth regiment afoot, by thomas gainsborough in about 1776. it was purchased by the national gallery of victoria in
11:15 pm
1921 and entered their collection in 1922 as an unidentified officer. greg erwin, if you could raise your hand. he chronicled it in an email blast, all about encouraging people to discover more about portraiture of british officers and soldiers from the revolutionary era. this was chronicled by him. in 2005, a british art historian, the head curator currently at the tate in london, got interested in the story of richard st. george and about this painting. he knew that richard st. george briefly served in the fourth regiment afoot, and came to america with that regiment. this is a young officer in that regiment, st. george was an ensign and this
11:16 pm
is an ensign. he also started to study some of st. george's surviving correspondence, which revealed that richard st. george had a portrait done by gainsborough when he was a younger man. that got martin thinking even more. he compared to the portrait of st. george at his wife's tomb and there is a facial resemblance. he was able to re-identify this portrait as st. george just before he leaves for america in 1776. that is another bit of evidence in this building story of this interesting officer. two years later, a big moment, came out of the blue. i was 15 years old. >> sotheby's in new york auctioned off these four watercolor sketches. they are
11:17 pm
extremely rare, surviving, eyewitness works of art from the revolutionary war. they depict scenes from the perspective of a light infantry officer during the philadelphia campaign, that also have service in new york. on the back of these sketches, there is also written in scription's and written inscriptions. notice the inscription at the bottom here, it says "my triumphant entry into philadelphia." we see there being carted into philadelphia probably an officer, surrounded by other british troops, but he has a head wound. on the backside of the sketch is a written inscription of the
11:18 pm
battle of germantown. we have a head wound, germantown, there is a guy being carted off the battlefield. in the painting, that is richard st. george. are these richard st. george's cartoons that he did that hunter mentioned in his journal? indeed they are. these are the four surviving caricatures that st. george did during the revolutionary war while he was on campaign in america. they came up randomly for auction but they were part of the collection of a collector and artist in bucks county, pennsylvania, who had done some traveling in england and europe in the 1920's and 1930's. i will get back to that a little later. but that was all that was known about their provenance. i was kind of
11:19 pm
watching this as a 15-year-old teenager interested in the american revolution, watching from the sidelines of the internet and emails and that sort of thing, reading articles produced by john reese, a great tour of mine. comparing them to the view in america cartoon. on the right is myself conversing with prisoners sketch. we see another detail in the view to america view of america of the fort in the background, there is a fort in the background here. you see infantryman captured. you see the light infantryman pointing at captured prisoners. the view in is the view in america cartoon one of st. george's cartoons as
11:20 pm
well? there was a theory about that in the 1980's because of quote from hunter. we were able to find more saint george cartoons. if you look in the right-hand corner of a cartoons, you see initials for richard st. george mansour. that is his birthday. birth name. prior to 1774, that is what he was known as, richard st. george mansoor st. george. a relative passed away and he stood to inherit land in ireland. following a tradition of the period, he took on his mother's surname. these are st. george's
11:21 pm
prewar cartoons, also published by matthew and mary darley. that is an interesting connection there. when you compare them, on the right is timothy callow and his wife going to the hall on a sunday. look at the horse and the cart, look at the horse and the cart in my triumphant entry into philadelphia. you compare that to the scene in the painting. there is a lot of similarity. is richard st. george the reason why the paintings exist? the answer is yes. that is the reason why, and i will get back to that in a little bit. meanwhile, across the atlantic, ruth, can you raise your hand? ruth published an article in 2010 with this sketch, the only time it had been published
11:22 pm
before. ruth got wind of the sketch in a private collection in cornwall, england, and went to study it in the early 2000 and published it in the journal of irish origin society in 2010, listed as a private collection. i contacted ruth and we talked about it a little more. it depicts a same portrait, a self-portrait, of richard st. george, and it is signed on the back by himself. he is depicted in this melancholic landscape with the robes he was known to wear after the war to cover the silver plate in his head
11:23 pm
because of the battle of germantown wound. this is the only known post-war artwork by st. george. at about the same time, there emerged another portrait of st. george, him in his black silk cap. it was sold to a private collector in the early 2010's, less than a decade ago. it is an incredible portrait of a veteran of the revolutionary war and what he looked like after the war. all of this coming together, all of this artwork has never been thought about together before but now it is being thought about together. at the center of it was this man, richard st. george. let's take a step back and find out who he is, what
11:24 pm
his origins are. let's learn about his life and death. to give you a rundown, he is born in 1752. he lived much of his life at headford. he also had property in england new bristol. he was a published cartoonist in london in the 1770's. he joined the british army in 1775, purchased a new commission in 1776, and served with the army until 1778, returned home as a wounded veteran, and as a veteran, traveled to a variety of different places. he was a
11:25 pm
widower. his wife passed away four years into his marriage, but then he was killed at the beginning of the irish revolution in 1798. later in life as an officer, 1796, sort of the alpha and omega portraits of his life. these portraits are now downstairs and serve to signal his life and death and in america and ireland. richard st. george was descended from people who had settled in ireland in the mid-1600s. his grandfather on the left rose to the rank of lieutenant general in the british army. it was his daughter, mary st. george, that was his mother. richard st.
11:26 pm
george inherited quite a bit of land. it accumulated to 12,000 acres of land. on the right, one of those plots in a 1775 land book, a document that some of the land he owned. that is the size of manhattan island. he was a pretty wealthy individual. here are his ten known surviving cartoons he published as a college student at trinity college cambridge university in england. they make fun of the new rich in england and ireland. they poke fun at macaroni fashion. they poke fun of one of his
11:27 pm
professors at cambridge, which he called the old macaroni critic. these were published in 1772 in 1773. soon after that, he joins the british army and commissions this portrait by, gainsborough right before he ships up to america. he probably pose for it right before he left. there was a narrow period of time when he was commissioned, then left for america. there is that reference to him talking about this portrait when he was older after the war. then he goes on to fight in some of the most intense campaigns of the revolutionary war, in and around new york, but then joins the excursion to capture
11:28 pm
philadelphia, which we have the pleasure to be in today. he fights in the major battles of the campaign. at the battle of brandywine, he is part of the second battalion of light infantry. he had switched regimens, purchasing a commission in the light infantry company. that commission is downstairs in the exhibition. at the battle of brandywine, richard st. george endured some of the most difficult fighting, fights we got a chance to tour yesterday in the footsteps of richard st. george. the night after the battle, st. george wrote a letter on september 11, 1777, and described a most infernal fire of cannon and musketry,
11:29 pm
smoke, inclined, halt, charge. this is the intensity of battle, but he is writing it the night after. at that battle, richard st. george was hit in the heel by some shot and had trouble walking, so he had to ride on a horse. he's probably sitting there writing this letter the night after his battle, then just under two weeks later, another intense battle, a nighttime attack by the british light infantry near paley tavern on september 20, september 21, 1777, richard st. george added to that letter saying "this moment was a dreadful scene of havock." this is described in that letter he
11:30 pm
added to on october 2. it stuck in his mind and he had trouble sleeping afterwards because of the brutality of the battle. on october 4, 1777, his life changed. that is the day he received his devastating headwind at the battle of germantown. he was carried off the battlefield by corporal george peacock, rescued from the field and brought into philadelphia for emergency surgery that may have taken place at a place like pennsylvania hospital. he underwent a procedure in which a disc of his skull was removed to relieve pressure on the brain. his skull seemed to have been fractured, rather than shot through the head with a
11:31 pm
musket ball. he had an intense concussion that had to be relieved, so a silver plate what was put over that disc and lived with the rest of his life and that silver plate in his head. germantown and the memories of paoli gave him a new perspective. this is what he looked like after the revolutionary war. he wore this black cap to cover that, a black robe as a sign of mourning, and went around seeking relief for his wounds, but was not successful finding relief. eleanor butler in 1788 after she meets richard st. george wrote how he was dressed in the deepest mourning and went to visit the most eminent physicians in europe, but was not finding relief. what was
11:32 pm
being prescribed was a tincture of opium, wine, snuff to manage the pain, but in reality that only made his pain worse and contributed to delirium and hallucination. he wrote in 1792 that "i am daily visited with convulsive attacks, three this very day, melted down by hallucinations, dreadful visions, and suggestions." this could be one of those dreadful visions. this is veteran artwork, for a veteran of the revolutionary war, is rare to survive. this is a veteran expressing himself after he received a devastating wound, and how did that affect his life? you see two demonic figures peering at him, historians along with ruth, and
11:33 pm
i, military historians, even physicians and doctors can look at this painting and maybe we can learn more from it and see new perspectives. i'm hoping this exhibit will inspire that. this is a veteran dealing with a traumatic brain injury. one of the things richard st. george does to deal with that wound is an important detail to the beginning of the story. richard st. george traveled to italy, and he did that in the 1780's. 1782, those paintings, that was when there were those paintings. richard st. george went to france, germany, rome, but also naples, and what is in naples? the archaeological sites. richard st. george went to those. he told stories about them to others. i bet many of
11:34 pm
you have not seen that painting on the right. that is the painting of those archaeological sites in naples. he painted that in the 1780's. there are some tiny figures there. i wonder if one of them is richard st. george. the artist was working in naples at the time. this is one of his views of the bay of naples, done in 1780, two years before the paintings of the battle of paoli and germantown. richard st. george traveled back and forth between ireland, england, and europe in the 1780's. richard st. george later wrote that when he was in naples, he worked with other artists in the city, commissioned one or two portraits of himself. unfortunately we don't know
11:35 pm
where those are yet, but hope to find them. he seems to have worked with the artist to paint two really important moments in his life. we don't yet have the receipt that he left richard st. george, paying him for these works, but we know they were there at the same time. we know st. george was a veteran of both battles and had a reason for commissioning these works. we know he is depicted in the foreground of the german town painting. these are works of art that may be helping st. george manage the memories of his service in america, a really harrowing time that
11:36 pm
really changes his life, so that that really changed his life. this is not a one off, an anomaly for his life. he is also encountering and befriending some of the early artists of the romantic era, the budding romantic era of art, in which new ways of expressing emotion, grief, love, pain or put to canvas and paper in the form of poetry. he befriends several people. anna seward wrote a famous poem. she is writing about his death in 1780 as the result of the hangman's noose of washington's army after consorting with benedict arnold. anna seward also wrote poetry about richard st. george. she wrote the epistle to colonel st. george. it seems to have been a sign of respect, because he never reached the rank of colonel. she described
11:37 pm
how like andre, st. george needed to be venerated as a veteran of war. she has a bit of antiwar sentiment in her poetry. she says that although andre died and lost his life for his king and country, richard st. george survived, and survived as a living relic of a failed come the loss of 13 of the american colonies. now seward and the other two, one famous for his painting "the nightmare", " spectators wrote shocking, and you will see why. that is the nightmare on the left, painted by henry fusilli. this is not gainsborough,
11:38 pm
reynolds, this is his mind depicting a nightmare. but these three individuals, one known as the roving baronet, a poet and friend of rousseau, they actually hosted a medieval costume party. what does that sound like? in 1783, in the woods of st. george's property near bristol, st. george orchestrates a grand medieval pageant that seward, boothby and fuseli attend. benedict arnold is dressed as fuseli is dressed as the great painter. boothby is dressed as a knight in armor. they go out in the
11:39 pm
woods and rescue fair maidens and battle demons, and seward is there writing poetry as they are doing this, really wild, really wild. i wonder if this is st. george expressing himself in a theatrical way. also, helping to make his memories of, deal with his memories of the war and maybe fight a war the way he wanted it to be fought. i am curious about that. he continues his friendship with fuseli. there is another one of his works. penelope boothby was his five-year-old daughter who passed away suddenly. he had fuseli commission that painting of her apotheosis into heaven.
11:40 pm
this is richard st. george's wife, stephanie st. george, and their oldest son. this is painted in 1782. while this was still on the easel in london, st. george passed away in august of 1792. there are notices that her death in british newspapers. she died on that estate near bristol. richard st. george now coupling with his wartime memories, now an even more tragic moment in his life, the loss of his wife, the thing him as a widower with two young sons p writes to henry fuseli commissioning young sons. he writes to henry fuseli to commissioner work. he commissioned another work of hamilton of him mourning his wife's tomb. meanwhile, things are changing in ireland. richard st. george had returned
11:41 pm
to ireland in 1788, the year of the french alliance between the united states, with the united states. what that partly sets off is the rise of the irish volunteers movement, which leads to legislative independence for parliament, celebrated in his flag on loan to the museum from ireland. what later comes about because of rising revolutionary movement, partly inspired by the american revolution and the french revolution, and that is led by the united irishmen, who use this as their symbol. in the 1790's, these united irishmen were advocating for total irish independence and equality for all irishmen. we have partnered with the national museum of ireland and northern ireland to bring some of ireland's great treasures from that revolutionary moment to philadelphia for the first
11:42 pm
time. the pocketbook, the ribbon, the coat worn at the battle, membership certificates and the society for the united irishmen signed, really great artifacts, see them downstairs in the exhibition. here is something many of you have not seen before, never published, never exhibited. this is discovered by myself and another person when we went to ireland to secure these loans, also to walk on the property of where richard st. george lived. we got a tip from the irish architectural historian. he said when i met him in october for the first time, he said i think i know of another portrait of richard st. george in ireland. i said, i will believe it when i see it. i asked for pictures. he never
11:43 pm
sent me pictures, but we were going blind out to ireland to see this, we happened upon this in the drawing room of a descendent, in the home of one of the descendents of richard st. george. this is an interesting portrait because of the inscription on the backside that is added onto the frame, "the late m st. george esquire murdered in his house by the rebels in 1798 by hamilton 1800." what happened to richard st. george because? he went to county cork in 1798 because he heard there was a rebellious activity, people cutting down of trees, perhaps influenced by the united irishmen. st. george goes down to check on this activity and try to stop it and
11:44 pm
stands before his tenants and says to them i will be staying without an armed guard at the home of one of my agents, and if you dare try me, go ahead, and they do. february 9, 1798, a group of tenants broke into the house and murdered richard st. george and his agent that night. he was one of the first people killed in 1798. that brief mention in his history of the irish revolution, we know much more about it now. newspapers in ireland and england carried the story, and then a large funeral takes place on february 22, 1798, and thanks to one person here as well, he found this reference to st. george's funeral in the chester chronicle from march 23, 1798. i was able to find the sermon that was preached on
11:45 pm
that day, february 22, which is a sermon we have reproduced downstairs calling out the demon of rebellion, the violent influence of france. influence of france. this documents adjusts the impact of the american revolution and french revolution on ireland. it is an amazing primary source that has never been published or studied before, until now. then in 1998, fast-forward 200 years to the bicentennial, he will be the closing keynote for this conference. in 1998, there was a monument dedicated on the site where richard st. george was killed february 9, 1798. that plaque, however, does not honor richard st. george. on it are the name of the three men hanged for the murder of st. george, but martin, a
11:46 pm
descendent of richard st. george went to help dedicate that monument, and martin delivered a really important speech in his career. i have read a lot of your speeches, martin. he said i am not here to defend an ancestor. i am here to promote peace and reconciliation in ireland. a couple of months later, martin helped to negotiate the good friday agreement in 1998, so the relevance of st. george's story during the bicentennial, it was still relevant then, and still relevant today as we are in this brexit climate. and now i have a bit of a charge for us all. this is incredible. this is recently found. i am sorry i am running a little bit long. i get excited. >> this was a photograph sent to me by
11:47 pm
richard st. george's 4th great grandson, the son of the man who stole the portrait to the national gallery of art of an. what it says is in this box or trunk are the shirts, hats, and clovththes my dear son had on him when he received a wound to the head was action with the rebels at germantown, five miles from philadelphia. that note survives, but where is the trunk? the next great detective story is queued up. the note is on its way to be included in the exhibition and it will be here later this month, just going for some export licensing and that sort of thing. what this exhibit has brought forth is a resurgence in interest,
11:48 pm
and i hope it will continue, to think about the entangled histories of ireland and america, also the story of a really an interesting fascinating family, descendents of which were here last thursday night to celebrate the opening of the exhibition. there is phil at the ruins that had fred castle had fred castle. this is still real and present for people. this will be chronicled in the catalog that will become available november, preorder now. preorder sheets are available on the back table outside the conference room. then we brought richard st. george to life with a theatrical program i know some of you have seen already, but they will be showing throughout the weekend. i encourage you to check out talented actors bringing richard st. george's story to life. thank you very much. >>
11:49 pm
12:27, i know i was supposed to finish at 12:30, but we can get a couple of questions. any questions? >> i am sure it has occurred to you that if richard st. george was at the battle of paoli and described the battle to the italian artist, he is probably somewhere in the picture. do you have any idea where he might be? >> he could be in there because there are other officers shown, but it is hard to say. among the foreground officers, and we could talk about this as well, it seems we could really pick out martin hunter, the light infantry captain killed at the
11:50 pm
battle, the only officer killed at the battle, british officer killed at the battle, but there is a chance he is in there, but we just don't know where he is. yeah? one second. go ahead. >> when was that destroyed? >> 1880's, in 1906 there was a massive fire then in 1906 there was a really massive fire. that was the end there. yes? >> clearly this has taken a lot of time and effort for you. what is the most interesting thing you found from your research? >> one thing, man. >> i am intrigued by that note, that box. i want to find that now. i
11:51 pm
have some family members asking all the cousins what do you have in your attic and that sort of thing, so we are hoping to find that, especially so late in the game, philadelphia connections, but also one of the most significant moments in his life. if that uniform that hat is found, that is one of the greatest surviving collections of artifacts from the revolutionary war that i know about. yeah? >> i will be brief. i want to thank you and congratulate you on an enormously well researched, adventurous exhibition, and i think it is a very great achievement, and although i don't identify with his politics, nonetheless, it is
11:52 pm
very gratifying to have two sides brought out, but also somebody who left a significant artistic and written record of what happened, and so and congratulations again to the museum. >> last one. >> thank you. >> go ahead. >> i am intrigued by the self-portrait of richard st. george. it is almost impressionistic because of the dream sequence. is there information in the literature talking about the psychological effects of the experience following it? >> not much. there is still wrestling with
11:53 pm
what this is about. is it acting? is it real? there are a lot of mis-prescribed, mis-prescribed, medicating, that sort of thing, but what i'm hoping is it will encourage scholars to dig deeper into that question to find out more, because none of this--we don't know everything yet. that really goes to show that's what we here at the museum of the american revolution are all about. we don't know everything yet. we are on the hunt to find more and more about a topic, the american revolution but there is more to learn, more to discover. >> thank you. '
11:54 pm
american american history tv, and suspend washington journal, live from the museum in washington d.c.. beginning at 7 am eastern, with our guest analyst and, head of georgetown university's anti center for east european studies. and an author for after the berlin wall, and someone who covered this, and betrayal in berlin, and someone from museum talks about the cold world exhibit. we will be taking your phone calls, emails and throughout the program. watch the fifth anniversary of the fall of the berlin wall on american history tv on c span three, and c-span washington journal.
11:55 pm
>> one i'd like to welcome you back. we had a great keynote section session. the 2019 international conference on the american revolution meeting here in philadelphia at the museum of the american revolution. we are grateful to our sponsors, you can see them on the screen.

1 View

info Stream Only

Uploaded by TV Archive on